20thTUCSON WINTER

Camb er Music FestivalMARCH 17-24, 2013

ARIZONA FRIENDS OF CHAMBER MUSIC

Inside FRONT CoverBlank

Board of Directors: Jean-Paul Bierny (President), Bryan Daum (Vice President), Joseph Tolliver (Corresponding Secretary),Helmut Abt (Recording Secretary), Wes Addison (Treasurer), Thomas Aceto, James Aiken, Nancy Bissell, Ted Buchholz,

Michael Coretz, Dagmar Cushing, John Forsythe, Beth Foster, Tom Hanselmann, Brad Holland, Joan Jacobson, Paul Kaestle, Eddy Muka, Jay Rosenblatt, Raymond Ryder, Jerry Short, Randy Spalding, Sarah Stanton, Walter Swap / Webmaster: Bob Foster

Cover illustration: Brenda Semanick / Program design: GroundZeroBooklet Editor: Jay Rosenblatt / Recording Engineer: Matthew Snyder

All concerts and open dress rehearsals will be held at the Tucson Convention Center’s Leo Rich Theater. Concerts and introductory commentary will start on time. Concert hall doors will be closed during the 20-minute introductory commentary.

Doors will reopen 10 minutes prior to the concert. Taking photographs or making recordings is prohibited.

Arizona Friends of Chamber Music / PO Box 40845, Tucson, AZ 85717 / 520.577.3769 / www.ArizonaChamberMusic.org

Presents

THE 20TH TUCSON WINTER

Camb er Music FestivalMARCH 17-24, 2013

Peter Rejto, Artistic Director

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Welcome!It is hard to believe that this is already our twentieth festival—it started so innocuously.

Twenty-five years ago, I had heard a piano and cello concert at the University of Arizona. The youngcellist was a faculty member named Peter Rejto. I deeply loved his playing. A few weeks later, on aflight to Chicago for a radiological meeting, I recognized him sitting in another row, studiously workingon a music score. I went to meet him, interrupting his studying. We spent the rest of the flight talkingabout chamber music. Eventually, conversation turned into plotting about bringing something reallyspecial to Tucson. This is how our Tucson Winter Chamber Music Festival was basically born in flight!

Peter and I decided that it had to be in the winter, such a wonderful season here, very attractive to“snowbirds” and to musicians happy to grab the opportunity to escape rather miserable climates in other parts of the world. We also wanted the festival to uphold Tucson’s feeling of warm, informalhospitality. And most importantly, it had to be of the highest quality in musicianship and original,adventuresome programming. This would be the best investment in the future of the festival.

It was obvious to me that Peter would be the ideal Artistic Director. And he has been: extremely careful in the way he combines musicians with each other and with the program, deeplyknowledgeable of the repertoire, and always exploring new possibilities, whether in instrumentation or in the literature. Peter has never brought us a dull moment!

The AFCM board supported the project wholeheartedly from the very start. To avoid a “generic” feeling resulting from an expanding team of hired employees, and coming with considerable expense,we decided to handle the whole organization by ourselves. With a lot of work by multiple board members, and with the help of wonderful volunteers offering their homes to accommodate musicians,it has worked quite smoothly. And what a reward! Such superb music and musicians! What an adventure! To the best possible audience, we have been able to offer one of the finest chamber music festivals in the country!

One of my most satisfying experiences with Peter has been his open-mindedness about trusting and accepting recommendations about musicians or groups we had hired, met, and heard, during ourEvening Series or Piano & Friends Series. That is how the Prazak, Miró, Shanghai, Borealis, Pacificastring quartets, violinist Joseph Lin, violinist/violist Helena Baillie, cellist Sergey Antonov, pianist Joyce Yang, bassist Volkan Orhon, sax player Ashu, composers Jiri Gemrot, Sylvie Bodorová, JefferyCotton, Raimundo Penaforte, Lera Auerbach, Pierre Jalbert joined the festival, among a number ofother great musicians.

I am a physician—I can’t read a single note—and I must admit that the notion of teaming up withPeter, such a consummate musician, to organize such a complex musical undertaking, should havescared and overwhelmed me. It never happened, because Peter somehow never rubbed in my profoundignorance. The serendipitous intersection of the paths of our lives has been most enriching for me, and in spite of the inevitable challenges, we are still on speaking terms! Better yet, we are friends.

My deepest thanks go to Peter, and also to our amazing audience, our outstanding AFCM board,and all our superb musicians.

The future of the festival is bright in the excellent hands of the AFCM board and our Festival’s artistic director.

Jean-Paul Bierny President, AFCM Board

Special Events

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Youth Concert

Thursday, March 21, 10:30am

Performance of excerpts from prior concerts with commentary by Festival musicians.

The Youth Concert is generously underwritten by The Marshall Foundation, and Stan Caldwell and Linda Leedburg.

Open Dress Rehearsals—Leo Rich Theater

9am – 12 noonTuesday, March 19Wednesday, March 20Friday, March 22Sunday, March 24

Dress rehearsals are free for ticket holders to that evening's concert; for non ticket holders, a donation is requested.

Master Class for Voice

Jennifer Foster3:00pm – 4:00pmSaturday, March 23Leo Rich Theater

Featuring students of Professors Kristin Dauphinais and Charles Roeof the University of Arizona School of Music.

Master Class for PianoBernadette Harvey4:00pm – 5:00pmSaturday, March 23Leo Rich Theater

Featuring students of Professors Tannis Gibson and Rex Woods of the University of Arizona School of Music.

Attendance by the public is open and encouraged.

Gala Dinner and Recital at the Arizona Inn

Saturday, March 236pm – Cocktails7pm – Musical selections by Festival musicians8pm – DinnerCall 577-3769 for reservations.

Flowers courtesy of Arizona Flowers in the Village at Sam Hughes.

Repeat Performances

If you miss a Festival concert or simply want to hear one again, please note that Classical KUAT-FM will broadcast recorded performances on 90.5/89.7 FM. Festival performances are typically featured in the station’s Musical Calendar. See http://radio.azpm.org/classical.

Sunday,March 17 , 3 pm Pre-concert commentary at 2:30pm by Joseph Tolliver

Wolfgang Amadeus MozartQuintet for Clarinet and Strings in A major, K. 581Allegro Bil Jackson, ClarinetLarghetto Shanghai QuartetMenuettoAllegretto con variazioni

Mozart (1756–1791) called his K. 581 Clarinet Quintet(1789) the “Stadler Quintet” in honor of his virtuoso clarinetistfriend, Anton Stadler. Stadler was not regarded as one of Vienna’sfiner citizens, since he was a careless spender with a mistress, buthe was respected as one of its finest musicians. He contributed tothe development of the clarinet by promoting extensions of itslower register, and he enhanced its repertoire through his collab-orations with Mozart, who also wrote his clarinet concerto forhim. Aside from their musical association, Mozart thoroughlyenjoyed his company, despite Stadler’s occasionally outrageousexploitation of his generosity.

As is typical of Mozart, the Allegro develops a glorious succession of singing melodies. In the first theme group alone,three distinct melodies are joined to form a graceful arc. After abrief pause the violin presents the second theme, which is soonfollowed by a lyrical third idea shared by the clarinet and violin.

The second movement (D major) is an extended song for clarinet accompanied by the muted strings. The third movement,the expressive Menuetto, departs from tradition in that it containstwo trios rather than the customary single trio—first, a mysteriousstatement for strings in the minor mode and second, a rusticdance that features the clarinet. The final Allegretto is a set of sixbuoyant variations that suggests German folk music.

Krzysztof PendereckiString Quartet No. 3 (2008), Blätter aus einem nicht geschriebenen Tagebuch(“Leaves from an Unwritten Diary”) Shanghai Quartet

The highly honored Polish composer Krzysztof Penderecki (b. 1933) is known for a distinguished body of richly-coloredorchestral, chamber, and choral works that incorporate a widerange of contemporary techniques to achieve compelling effects.While his early works develop through serial and avant-garde gestures, in recent years his style has evolved to incorporate traditional harmonic language.

Penderecki wrote his String Quartet No. 3 for the ShanghaiQuartet as a request from Peak Performances of Montclair StateUniversity and the Modlin Center for the Arts at the Universityof Richmond. The commissioners intended to honor both theShanghai Quartet on the occasion of their 25th anniversary andPenderecki’s 75th birthday. The work received its premiere atMontclair State University in February, 2009.

Penderecki writes of his quartet, a partly autobiographicalwork which he subtitled “Leaves from an Unwritten Diary”:“While composing the quartet, I remembered a Hutsul folkmelody which I had frequently heard played by my father. I madeuse of this theme, which grew in successive variations and almosttook over my whole composition.”

The Shanghai Quartet discusses the structure of the work:“The Quartet is roughly sixteen minutes in length and is composedin a single movement with strongly defined subsections. Startingwith an almost grave introduction, a dark, screaming melody inthe viola leads directly into a driven, brilliant vivace in G minorwhich recurs throughout the piece. Soon a beautiful waltzemerges, followed by a poignant and sweetly singing notturno,then back to the vivace pattern, which Penderecki insisted weplay ‘faster, faster.’ By the end of our work with the composer inNovember we could barely play all the notes in this furioustempo. As we increased the tempo, however, the excitement andintensity were slowly revealed.

“Towards the end of the work, a spectacular gypsy melodyappears, a theme that hasn’t been heard in any of the composer’sprevious works. We asked Maestro Penderecki about this theme,and he told us that it is a melody his father used to play on theviolin when he was a child, perhaps a Romanian melody. Soonafter comes the climax of this masterpiece, where all the previouslyheard themes collide in a powerful moment that is full of intensity and drama. The end follows shortly after this: soft andintrospective, almost walking off into the distance, with stoppedharmonics played by the second violin, echoing the gypsy melodyas the work draws to a close.

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Mozart’s Clarinet Quintet was performed as part ofour first Festival in 1994. The Shanghai Quartet previously played Penderecki’s String Quartet No. 3 onour Evening Series concert of September 30, 2009.

Sunday,March 17, 3pm

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“The Shanghai Quartet is very grateful to both commissionersfor playing an important role in the creation of this work. Webelieve the String Quartet No. 3 by Krzysztof Penderecki willbecome a prominent part of the string quartet repertoire and perhaps will be recognized as one of the significant chambermusic compositions of our young 21st century.”

Intermission

Franz LisztHymne de la Nuit (S. 173a/1) and Hymne du Matin (S. 173a/2) for Solo Piano Bernadette Harvey, Piano

Hungarian composer, pianist, and conductor Franz Liszt(1811–1886) wrote his two Hymnes for solo piano (1847) during a winter visit to Woronince, the Polish-Ukrainian countryestate of the Princess Carolyne von Sayn-Wittgenstein. Liszt had once considered entering the priesthood, and Carolynereawakened his religious ardor—a profound sentiment that led tohis eventual vocation as an Abbé, when in 1865 he took the fourminor orders of the priesthood. These compositions were intended for his piano cycle Harmonies poétiques et religieuses,inspired by the poetry of Alphonse de Lamartine. Put aside, theywere not published until 1981.

Both Hymnes develop with melodies that arch to ferventpeaks and then subside to calmer sections that are varied by ideasboth declamatory and reflective. Flowing arabesques support thesustained and singing thematic lines. Liszt’s quasi-improvisatorystyle creates a fantastic atmosphere that evokes images of serenenight and glorious morning.

Antonín Dvor ákString Quartet in A-flat Major, Opus 105Adagio ma non troppo—Allegro appassionato Shanghai QuartetMolto vivaceLento e molto cantabile Allegro ma non troppo

Inspired by her desire to “create a national music spirit,”American philanthropist Jeanette Thurber founded the NationalConservatory of Music in 1885 (unfortunately disbanded afterthe Great Depression). She offered numerous scholarships, particularly to African Americans, and recruited stellar facultysuch as Antonín Dvorák, who served as its director for threeyears. In early 1895 Dvorák had completed his three-year directorship and was eager to return to Prague. Although he hadcomposed productively during his American sojourn, completingworks such as the Symphony “From the New World” (a title suggested by Mrs. Thurber), Dvorák never overcame intensehomesickness for his native Bohemia. Shortly before his departure he began his Opus 105 quartet, which was intended as a statement of his Czech nationalism. Because of various distractions he was able to complete only seventy measures, andonce back in Prague other matters consumed his time. He wroteto a friend: “My muse is now quite silent. For four whole monthsnow I have not even taken up my pen.” When he did resumecomposing, he chose to make a fresh start on another quartet,Opus 106. Only when that opus was completed did he return toOpus 105, which he finished within three weeks. It was to be thelast of his fourteen quartets. Dvorák requested that the premiereof Opus 105 be given by his own Prague Conservatory studentson the anniversary of his return to Bohemia, April 16, 1896.

Although infrequently programmed, the Opus 105 Quartet isconsidered to be one of Dvorák’s finest compositions.Hauntingly beautiful Slavic folk songs and dance themes pervadethe work’s essentially classical structure. After a somber introduction led by the solo cello (A-flat minor) and a subtlemodulation to the major key, the opening movement developstwo closely related themes in sonata form. The superb F minorscherzo movement, Molto vivace, is based on the energetic “furiant,” a Bohemian dance in which duple rhythmic patternsintrude into the established triple meter. The F major slow move-ment (marked “very singing”) is thematically related to the openingmovement. Homage to his friend Brahms, the Lento developswarm and broad themes that are varied by subtle changes of scoring. After an introductory statement in the solo cello, thesubstantial rondo finale explores an array of exuberant motifs.

This afternoon’s concert is generously underwritten by Jay Shah and Minna Mehta (in honor of Jean-Paul Bierny), and Joyce and David Cornell.

Notes by Nancy Monsman

Tuesday,March 19, 7:30pm Pre-concert commentary at 7pm by Joseph Tolliver

Béla Bartók Contrasts for Clarinet, Violin, and PianoVerbunkos (Recruiting dance) Bil Jackson, ClarinetPiheno (Relaxation) Ani Kavafian, ViolinSebes (Fast Dance) Bernadette Harvey, Piano

Contrasts was conceptualized at a convivial dinner enjoyed byJoseph Szigeti, the eminent Hungarian violinist, and BennyGoodman, the legendary jazz clarinetist, in 1938. They decidedto perform together, but they realized that their special chemistryrequired new repertoire. The obvious choice of composer fortheir collaboration was Szigeti’s compatriot Béla Bartók (1881–1945), who could also perform with them as pianist. Szigetiwrote to Bartók, who was then on vacation in Switzerland:“Benny has offered to triple the commission you usually receive.Please write him a registered letter, in which you agree to write a six to seven minute clarinet and violin duo with piano accompaniment, the ownership of which remains yours. It would be very good if the composition were to consist of twoindependent sections which could be performed separately, andof course we hope it will include a brilliant clarinet and violincadenza! Benny brings out whatever the clarinet is physically ableto perform at all—in regions much higher than in Eulenspiegel(Richard Strauss’s virtuoso tone poem)!” Within a month Bartókmailed the new work to its commissioners. He had added a central movement and apologized that he now “delivered a suitfor an adult instead of the dress ordered for a two-year-old baby.”

A verbunkos is a vigorous Hungarian dance traditionally performed by army recruiting officers dressed in full regalia. Thismarch-like dance was generally performed on the taragato, a relative of the clarinet with a conical bore. Piheno, Hungarian forrepose, was added to the trio after its 1939 premiere, at which timeit was entitled Rhapsody. The movement was included in the trio’sfirst recording, by which time the work was renamed Contrasts.Szigeti especially liked this slow interlude: “This ‘night piece,’ withits wonderful calm and free air, was highly necessary for balance.”

For the Sebes, or Fast Dance, the violinist must prepare a second violin tuned to the notes G-sharp, D, A, and E-flat inorder to create the effect of a danse macabre. Its slower middlesection is based on the asymmetrical Bulgarian dance rhythm of3+2+3+2+3. The movement concludes with a violin cadenza anda virtuoso flourish from all three instruments.

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Lee Hoiby Sonnets and Soliloquies (William Shakespeare) for String Quartet and SopranoIf music be the food of love Jennifer Foster, SopranoSonnet 116 Axel Strauss, ViolinSonnet 128 Ani Kavafian, ViolinPortia’s Plea Helena Baillie, Viola Sergey Antonov, Cello

A disciple of Gian Carlo Menotti, American composer andpianist Lee Hoiby (1926–2011) is known primarily for his lyricalsongs and operas. Hoiby wrote his Sonnets and Soliloquies forthe Arizona Friends of Chamber Music Commissioners’ Circle,and it was premiered at the 2005 Winter Festival. MarkShulgasser, Mr. Hoiby’s librettist for his Shakespearean operas,provides a statement on behalf of the composer: “The question of appropriateness of the singer’s gender to these texts opensinteresting doors. In an operatic version of Twelfth Night writtenby Purcell or Handel, Orsino might plausibly be a castrato. Somight most of the roles in Twelfth Night. In the two sonnet settings, Shakespeare’s own voice, emblematic for centuries ofuniversality, certainly belongs to both genders. In general the sonnets tend to treat gendered peculiarities as cavalier fancies,continually trumped up by the more powerful relations of status,family, age, and talent. ‘The quality of mercy,’ a passionatelyearnest sermon, is delivered by a female character disguised as amale, and, on Shakespeare’s stage, played by a male.”

Lee Hoiby’s work was commissioned by AFCM andfirst performed as part of our twelfth Festival in 2005,while Bartók’s Contrasts has been a frequent visitor, withappearances at our Festivals in 1997 and 2005. Brahms isa particular favorite of our Festival director, Peter Rejto,and this Quintet has been heard previously in 1997 and2004. The Variations by Beethoven are performed for thefirst time at any of our concerts.

If music be the food of loveIf music be the food of love, play on:Give me excess of it, that, surfeiting,The appetite may sicken, and so die. That strain again! It had a dying fall:O, it came o’er my ear like the sweet sound,That breathes upon a bank of violets, Stealing and giving odour! Enough; no more:‘Tis not so sweet now as it were before.O spirit of love! How quick and fresh art thou,That, notwithstanding thy capacityReceiveth as the sea, nought enters there,Of what validity and pitch soe’er,But falls into abatement and low price,Even in a minute: so full of shapes is fancyThat it alone is high fantastical.

(Twelfth Night, Act I/i)

Sonnet 116Let me not to the marriage of true minds Admit impediments. Love is not loveWhich alters when it alteration finds, Or bends with the remover to remove:O no! it is an ever-fixed mark That looks on tempests and is never shaken;It is the star to every wandering bark, Whose worth’s unknown, although his height be taken.Love’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come:Love alters not with his brief hours and weeks, But bears it out even to the edge of doom.If this be error and upon me proved, I never writ, nor no man ever loved.

Tuesday,March 19, 7:30pm

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Intermission

Ludwig van BeethovenVariations for Cello and Piano in E-flat Major on “BeiMännern, welche Liebe fühlen” from Mozart’s Magic Flute, WoO 46 Colin Carr, Cello Xak Bjerken, Piano

Throughout his life Beethoven (1770–1827) admired Mozart,and in his youth he aspired to study with him in Vienna.Unfortunately, Mozart did not enjoy long life, and the lessons nevertook place. As homage, Beethoven wrote two sets of variations onthe comic opera Die Zauberflöte (The Magic Flute), a work that heconsidered one of Mozart’s finest creations. The second set, writtenin 1801 and published in 1802, consists of seven variations basedon the Act I duet between Papageno and Pamina, “Bei Männern,welche Liebe fühlen” (For Men who feel Love). In this importantscene Papageno, servant of the opera’s hero Tamino, tells Pamina,who is imprisoned by an evil magician Sarastro, that the handsomePrince will soon liberate her with the help of the magic flutebestowed by her mother, the Queen of the Night. Protected bymagic chimes, Papageno and Pamina (baritone and soprano) joyfullysing praises to love. A statement of the gentle theme (Allegretto) isfollowed by seven dramatically contrasting variations.

Johannes Brahms String Quintet No. 2 in G Major, Opus 111Allegro non troppo, ma con brio Cynthia Phelps, ViolaAdagio Shanghai QuartetUn poco AllegrettoVivace ma non troppo presto

Brahms (1833–1897) spent several summers at Bad Ischl, anidyllic resort in Austria’s Lake Country. Opus 111, his secondquintet for two violas, resulted from his sojourn of 1890. Onceback in Vienna, his friends were impressed by the “sunny countryof the new quintet,” as his student Elisabeth von Herzogenbergphrased it. “This surpasses your earlier works in beauty, grace, anddepth of feeling,” she enthused. “He who can invent all this mustbe in a happy frame of mind. It is the work of a man of 30!” At arehearsal for the quintet’s premiere later that season, a friendobserved that the good-natured work should be subtitled“Brahms in the Prater,” a reference to the composer’s favoriteViennese park. Brahms gladly agreed: “Exactly right! Among allthe pretty girls.”

However, by the time Brahms submitted the work to his publisher, his mood had grown somber. Because the quintetincorporated sketches for a projected symphony that Brahmsknew would remain incomplete, his discouragement wasimmense. He wrote: “With this letter you can bid farewell to mymusic, because it is high time to stop. The fact that you have gotten this quintet is due to a trick that my modesty has playedon me.” Fortunately, Brahms recovered his sense of mission as acomposer and continued to write until nearly the end of his life.

The exuberant first movement is based on drafts that Brahmshad sketched for his fifth symphony. It opens symphonically withthe four upper strings playing tremolo as the cello melody risesdramatically from beneath. The second theme is a songful phrasefor viola with rhythmic accompaniments in the violins and cello. A third theme, introduced by the first violin, resembles acharming Viennese waltz.

The concise and profound Adagio is a set of variations on an intensely expressive theme heard initially in the viola. Thetheme is varied at each of its three statements to create a subtlydifferent character.

The Scherzo (G minor) opens with a pensive waltz tune. Themiddle section (G major) develops a dialogue between the violinsand violas against arpeggiated figuration in the cello. After areturn of the first section, the movement concludes with an introspective coda.

The viola introduces the gypsy theme of the Vivace finale, andthe ensemble responds with a forceful statement. An arpeggiatedsecond theme is brought in by the first violin. The momentumbuilds and the movement concludes with an uninhibitedHungarian dance.

Sonnet 128Oft, when thou, my music, music play’st, Upon that blessed wood whose motion soundsWith thy sweet fingers, when thou gently sway’st The wiry concord that mine ear confounds,Do I envy those jacks that nimble leap To kiss the tender inward of thy hand,Whilst my poor lips, which should thatharvest reap, At the wood’s boldness by thee blushing stand!To be so tickled, they would changetheir state And situation with those dancing chips,O’er whom thy fingers walk with gentle gait, Making dead wood more blest than living lips.Since saucy jacks so happy are in this, Give them thy fingers, me thy lips to kiss.

Portia’s PleaThe quality of mercy is not strained,It droppeth as the gentle rain from heavenUpon the place beneath: it is twice blessed, It blesseth him that gives, and him that takes,‘Tis mightiest in the mightiest, it becomesThe throned monarch better than his crown,His sceptre shows the force of temporal power,The attribute to awe and majesty,Wherein doth sit the dread and fear of kings,But mercy is above this sceptred sway,It is enthroned in the hearts of kings,It is an attribute to God himself;And earthly power doth then show likest God’s,When mercy seasons justice,We do pray for mercy,And that same prayer doth teach us all to renderThe deeds of mercy.

(The Merchant of Venice, IV/i)

Tonight’s concert is generously underwritten by Jerry Short, Merrill Lynch, Sr. Financial Advisor, and Jean-Paul Bierny and Chris Tanz.

Notes by Nancy Monsman

Stephen PaulusExotic Etudes for Viola and Piano QuartetI. Energetic Cynthia Phelps, ViolaII. Dark and Austere Xak Bjerken, PianoIII. Shimmering Axel Strauss, ViolinIV. Melodious Helena Baillie, ViolaV. Vibrant Sergey Antonov, Cello

Stephen Paulus (b. 1949) has composed prolifically in all genres, including orchestra, opera, chamber ensemble, solo voice,concert band, piano, and organ.

A recipient of both Guggenheim and NEA fellowships, hismusic has been commissioned, recorded and performed by suchvaried performers as the New York Philharmonic, ClevelandOrchestra, Atlanta Symphony Orchestra, Los Angeles MasterChorale, the Chamber Music Society of Lincoln Center, andDeborah Voigt. Exotic Etudes (2000), his second Tucson WorldPremiere, was sponsored by John and Helen Schaefer and performed at that year’s Winter Chamber Music Festival.

The composer writes about Exotic Etudes: “The work is anabstract instrumental character sketch casting the viola in a quasi-concerto role—the viola becomes a character with its distinct personality and is accompanied by violin, viola, cello, andpiano. The movement titles suggest a quilt-like work organizedfor balance, variety, and contrast. A wide range of contemporarytechniques (pizzicati, angular melodies, mixed meters, andunusual instrumental positions) test the musicality and agility of the performers. I hear each instrument as being equally important in its contribution to the work as a whole. The quartetalways allows the solo violist moments of prominence that highlight its special statements.

“Each of the first four movements opens with a duet betweenthe soloist and one of the quartet players. In the spirit of camaraderie, the opening movement begins with a spirited duetbetween the two violists. The second movement explores the darkinstrumental color possibilities of both cello and viola. The thirdmovement capitalizes on the piano’s ability to create a shimmeringsound. Movement four plays to the violin’s melodic and lyricalstrength. All players join from the beginning in the final movement. In effect, each member of the quartet has introduceditself to the viola and has emphasized a particular quality of itsown instrument.”

Wednesday, March 20, 7:30pm

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Dmitri ShostakovichString Quartet No. 6 in G Major, Opus 101 Allegretto Shanghai Quartet Moderato con motoLentoLento—Allegretto—Andante—Adagio

In the summer of 1956 Shostakovich (1906–1975), a widowerwith two children, decided to remarry. The attractive MargaritaKainova caught his eye, and to contrive an introduction he purchased a pair of opera tickets and sent her one anonymously.However, Margarita was not a music lover, and she gave away theticket. Once at the opera he was distressed to discover that her seatwas occupied by a stranger. Undaunted, he then asked a colleagueto set up a meeting. The shy composer shocked friends and familyby proposing to Margarita that same afternoon. Shostakovichexplained: “She is a good woman, and I hope she will be a goodwife to me and a good mother for my children.” However, heshould have realized when the opera ticket stratagem failed that hehad little in common with Margarita, and after three yearsShostakovich filed for divorce. But in August of 1956Shostakovich was a contented man on his honeymoon, duringwhich he undertook composition of his Quartet No. 6 in G Major,Opus 101. He completed the quartet within days and reportedthat for the first time in years he was satisfied with a new work.

Shostakovich began to write his fifteen string quartets onlyafter Stalin’s denouncement of the expressionist opera “LadyMacbeth of the Mtsensk District” (1936), a disaster that mighthave led to his death. Since quartets offered lower political visibility, they are often heard to be documents of the composer’sprivate and uncensored thoughts. Certainly Shostakovich’s mostdaring innovations of form and harmony are heard in these quartets. Although Opus 101 cannot be described as one of the composer’s grander quartets, its genial affect attests to therange and diversity of Shostakovich’s formidable contribution tothe genre.

The harmonies of Quartet No. 6 are basically diatonic.However, before each movement reaches its final cadence, it articulates the pungent chord D–E-flat–C–B—a musical spellingof DSCH, Shostakovich’s characteristic signature. The carefreeopening Allegretto leads into the dancelike Moderato movement(E-flat major), which is varied by a chromatic section at its center.The reflective Lento (B-flat minor) is a passacaglia, a set of eloquent variations over a ten-bar theme intoned by the cello. Thecomplex finale, in sonata-rondo form, proceeds without pause. Asits two themes build to an exuberant peak, themes from the earliermovements are recalled, now varied in tempo. The movementends quietly with all instruments muted.

Intermission

Pre-concert commentary at 7pm by Joseph Tolliver

Stephen Paulus’s Etudes were commissioned byAFCM and first performed as part of our seventh Festivalin 2000, and Arensky’s Quartet was last heard at our tenthFestival in 2003.

Wednesday, March 20, 7:30pm

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Johannes BrahmsHungarian Dances for Piano Four-HandsNo. 1 in G Minor Xak Bjerken, PianoNo. 4 in F Minor Bernadette Harvey, PianoNo. 6 in D-flat Major

For all the seriousness of his symphonies and sonatas, it is easily forgotten that Brahms (1833–1897) had a lighter side. Thisis reflected in his Waltzes, Opus 39 (also for piano four-hands),and his two collections of Liebeslieder Waltzes, Opus 52 and 65.Unlike these works, Brahms never assigned an opus number tohis two sets of Hungarian Dances, perhaps a tacit acknowledge-ment that these pieces are arrangements, not original music. Hewas likely exposed to these tunes through Eduard Reményi, aHungarian violinist who Brahms accompanied on a concert tourwhen only nineteen. The first two books of dances appearedmany years later, in 1869, at which time he confessed to his publisher: “I offer them as genuine gypsy children which I didnot beget, but merely brought up with bread and milk.”

The first in G minor is one of the best known, partially theresult of Brahms’s transcription for orchestra (one of three that hearranged himself; the remaining dances were done by others). By contrast, No. 4 is by turns moody and boisterous, with a lighthearted middle section. Also very popular, the sixth in D-flat major begins slowly but soon achieves a giddy tempo thatsends the dancers skirting across the dance floor.

Anton ArenskyString Quartet in A Minor, Opus 35, for Two CellosModerato Ani Kavafian, ViolinVariations on a theme of Tchaikovsky Helena Baillie, ViolaFinale Sergey Antonov, Cello I Colin Carr, Cello II

Russian composer and pianist Anton Arensky (1861–1906)grew up in a nurturing musical family that encouraged him tostudy composition with Rimsky-Korsakov at the St. PetersburgConservatory. After graduation, Arensky was appointed Professorof Harmony at the renowned Moscow Conservatory, where hisnotable pupils included Rachmaninoff, Scriabin, and Glière.There Arensky met Tchaikovsky, who became his close friendand mentor. In 1895 Arensky was appointed Director of theImperial Chapel, and he returned to St. Petersburg. He retired sixyears later with a generous pension and planned to devote histime to concertizing and composition. Unfortunately, Arensky

suffered a life-long struggle with alcoholism and a gamblingaddiction. After leaving the structured life of the Chapel, his habits grew increasingly dissolute, and he died of tuberculosisat age forty-five. Appalled by the waste of formidable gifts,Rimsky-Korsakov predicted that he would soon be forgotten.Arensky is now remembered for a small number of works, severalof which are miniatures, and his significant pedagogical influence.

Arensky was one of imperial Russia’s more eclectic composers.He was most strongly influenced by Europe’s leading romanticcomposers, particularly Chopin and Mendelssohn. Arensky’sworks all reveal fluent technique, singing melodic lines, and an affinity for unusual rhythmic patterns. A keen sense of instrumental color pervades his work.

Soon after the death of Tchaikovsky, Arensky began his A Minor quartet (1894). The work was intended as a memorialto his friend, and the use of the second cello in place of the customary second violin contributes strongly to the quartet’s elegiac quality. Later he rescored the work for the standard quartet instrumentation and also for string orchestra. The workhas become his best known composition in its orchestral format.

The first movement opens with a muted psalm theme borrowed from ancient Russian church music. In its central section the mode changes to A major, but the minor-key psalmtheme returns to conclude the movement.

The second movement develops seven variations on a folklikechildren’s song by Tchaikovsky, who was steeped in nativeRussian song from his earliest childhood. “When Jesus Christ wasStill a Child” was taken from Legend No. 5, “Sixteen Songs forChildren,” Opus 54. A muted coda recalling the ancient Russianchant concludes the movement.

After an introductory Andante sostenuto section, the finale de-velops fugally the Russian hymn “Slava Bogu no nebe Slava” (Gloryto God in Heaven), which also appears in the Allegretto movementof Beethoven’s second “Rasumovsky” quartet, Opus 59 No. 2.

Tonight’s concert is generously underwritten by Philip Pappas II, Ameriprise Financial, Sr. Financial Advisor.

Notes by Nancy Monsman

Ottorino RespighiIl Tramonto (The Sunset) for Soprano and String Quartet Jennifer Foster, Soprano Shanghai Quartet

Trained by the brilliant orchestrator Rimsky-Korsakov, Italiancomposer Ottorino Respighi (1879–1936) is best known forgrand and lavish works such as “The Pines of Rome.” However,he could also be a subtle lyricist, and in 1917 he created a settingfor “The Sunset,” a rarely anthologized 1816 poem by PercyBysshe Shelley (1792–1822). This somewhat gothic poem is generally understood to be an exploration of the Romantic’s connection between genius—here an intuitive knowledge of thespirit world—and death. The “youth,” a Shelley figure, falls inlove with the Lady Isabel in a fantasy landscape. The youth hasnever seen the sunset and anticipates experiencing it with her, buthe dies soon after their first encounter. She remains calm for therest of her life, but “her eyelashes were worn away with tears,” andshe is in effect a walking corpse. The elusive sunset, a symbol ofbeauty in death, will come only when she dies.

Sung in Italian to a translation by Rinaldo Ascoli, the workfreely illustrates its haunting text through chromatically tingedharmonies and eloquent instrumental commentary. Respighiadmired Debussy, and his impressionist influence can be heardthroughout.

Friday, March 22, 7:30pm

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Pre-concert commentary at 7pm by Joseph Tolliver

Già v’ebbe un uomo, nel cui tenue spirto(qual luce e vento in delicata nubeche ardente ciel di mezzo-giorno stempri)la morte e il genio contendeano. Oh! quanta tenera gioia,che gli fè il respiro venir meno(così dell’aura estiva l’ansia talvolta)quando la sua dama, che allor solo conobbe l’abbandono pieno e il concorde palpitar di due creature che s’amano,egli addusse pei sentieri d’un campo,ad oriente da una foresta biancheg giante ombratoed a ponente discoverto al cielo!Ora è sommerso il sole; ma linee d’oropendon sovra le cineree nubi,sul verde piano sui tremanti fiorisui grigi globi dell’ antico smirnio,e i neri boschi avvolgono,del vespro mescolandosi alleombre. Lenta sorge ad orientel’infocata luna tra i folti ramidelle piante cupe:brillan sul capo languide le stelle.E il giovine sussura: "Non è strano?Io mai non vidi il sorgere del sole,o Isabella. Domani a contemplarlo verremo insieme."

There late was One within whose subtle beingAs light and wind within some delicate cloudThat fades amid the blue noon’s burning sky, Genius and Death contended. None may knowThe sweetness of the joy which made his breathFail, like the trances of the summer air,When, with the Lady of his love, who thenFirst knew the unreserve of mingled being,He walked along the pathway of a fieldWhich to the east a hoar wood shadowed o’er,But to the west was open to the sky.There now the sun had sunk, but lines of goldHung on the ashen clouds, and on the pointsOf the far level grass and nodding flowersAnd the old dandelion’s hoary beard,And, mingled with the shades of twilight, layOn the brown mossy woods: and in the eastThe broad and burning moon lingeringly roseBetween the black trunks of the crowded trees,While the faint stars were gathering overhead.“Is it not strange, Isabel,” said the youth,“I never saw the sun? We will walk hereTomorrow; thou shalt look on it with me.”

Il giovin e la dama giacquer tra il sonno e il dolce amorcongiunti ne la notte: al mattingelido e morto ella trovò l’amante.Oh! nessun creda che, vibrando tal colpo,fu il Signore misericorde.Non morì la dama, né folle diventò:anno per anno visse ancora.Ma io penso che la queta sua pazienza, e i trepidi sorrisi,e il non morir... ma vivere a custodia del vecchio padre(se è follia dal mondo dissimigliare)fossero follia. Era, null’altro che a vederla,come leggere un canto da ingegnoso bardointessuto a piegar gelidi cuori in un dolor pensoso.Neri gli occhi ma non fulgidi più;consunte quasi le ciglia dalle lagrime;le labbra e le gote parevan cose morte tanto eran bianche;ed esili le mani e per le erranti vene e le giunture rossadel giorno trasparia la luce.La nuda tomba, che il tuo fral racchiude,cui notte e giorno un’ombra tormentata abita,è quanto di te resta, o cara creatura perduta!

That night the youth and lady mingled layIn love and sleep—but when the morning cameThe lady found her lover dead and cold.Let none believe that God in mercy gaveThat stroke. The lady died not, nor grew wild,But year by year lived on—in truth I thinkHer gentleness and patience and sad smiles,And that she did not die, but lived to tendHer aged father, were a kind of madness,If madness ’tis to be unlike the world.For but to see her were to read the taleWoven by the subtlest bard, to make hard heartsDissolve away in wisdom-working grief;—Her eyes were black and lusterless and wan;Her eyelashes were worn away with tears,Her lips and cheeks were like things dead—so pale;Her hands were thin, and through their wandering veinsAnd weak articulations might be seenDay’s ruddy light. The tomb of thy dead selfWhich one vexed ghost inhabits, night and day, Is all, lost child, that now inhabits of thee!

“Ho tal retaggio, che la terra non dà:calma e silenzio, senza peccato e senza passione.Sia che i morti ritrovino (non mai il sonno!) ma il riposo,imperturbati quali appaion, o vivano, o d’amore nel mar profondo scendano;oh! che il mio epitaffio, che il tuo sia: Pace!”Questo dalle sue labbra l’unico lamento.

“Inheritor of more than earth can give,Passionless calm and silence unreproved,Whether the dead find, oh, not sleep! but rest,And are the uncomplaining things they seem,Or live, or drop in the deep sea of Love;Oh, that like thine, my epitaph were—Peace!”This was the only moan she ever made.

Tonight’s concert represents the second world premiere in Tucson of a work by Sylvie Bodorová. Tenyears ago, at our tenth Festival, we heard the world premiere of Mysterium Druidum, and at our Festival in2010 her Terezin Ghetto Requiem was performed. It wasJennifer Foster who last brought us Respighi’s rarely-heard“Il tramonto” at our 2000 Festival. Fauré’s piano quartetshave been frequent visitors, and his Opus 45 was lastheard at our sixth Festival in 1999.

Friday, March 22, 7:30pm

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This evening’s concert is generously underwritten by Ghislaine Polak (in honor of Jean-Paul Bierny) and Fidelity Investments.

Sylvie BodorováQuartet for Clarinet and Strings (World Premiere)Rotatio furosis (Rotation of wrath) Bil Jackson, ClarinetRotatio doloris (Rotation of grief) Ani Kavafian, ViolinRotatio temporis (Rotation of time) Cynthia Phelps, Viola Colin Carr, Cello

When delving into different historical epochs while composingmy works (Terezin Ghetto Requiem, the oratorios JudaMaccabeus and Moses, the orchestra song cycle Lingua angelorum for the era of Emperor Rudolf II, and the melodramaKafka’s Träume), I have often come up against the fact that all theproblems that we encounter “rotate” with us—humans—for centuries. In some of the historical periods it is possible to tracethem in a slightly different form, while in others they are sometimes the same, almost identical. I am always struck by howlittle we humans are able to learn from our mistakes. It is perhapsbecause everything happens over such long stretches of time sothat human memory and experience are not able to embrace it,or perhaps it is simply because the young, not believing the oldwho remember a lot more, must gain their own experience. Orperhaps we are incorrigible.

The principle of rotations is a musical principle, too, and thewhole cycle is built upon it—upon a principle of construction inboth the micro- and the macrostructure.

My work “Rotationes” was commissioned by the ArizonaFriends of Chamber Music. I return to Arizona after ten years,and I return very gladly. I am very grateful for this wonderfulopportunity, and I value greatly the support I have received. In the economically straitened times today it is far from being amatter of course.

—Sylvie Bodorová

The World Premiere of Bodorová’s Quartet for Clarinet andStrings is sponsored by Bob Foster, in memory of Betty Cochran;Suzanne and Charles Peters; Jean-Paul Bierny and Chris Tanz.

Intermission

Gabriel FauréPiano Quartet No. 2 in G Minor, Opus 45 Allegro molto moderato Axel Strauss, ViolinScherzo: Allegro molto Helena Baillie, ViolaAdagio non troppo Sergey Antonov, CelloAllegro molto Xak Bjerken, Piano

Chamber music was strongly promoted in late nineteenth-century Paris, and by 1870 there were as many as nineteen established concert series for this medium. Perhaps because of thisencouraging environment, the French romanticist Gabriel Fauré(1845–1924) created significant chamber works together with anexquisite body of songs. Poetic expressions of his own personalvision, these works convey his almost mystical concept of beautythrough a subtle and sensuous harmonic palette.

Often regarded as his finest chamber work, the Piano Quartetin G Minor was written in 1886, the same year Fauré composedhis masterful Requiem. Whereas in his earlier chamber worksFauré had closely followed classical French models of form andharmony, in Opus 45 he outlines a romantically bold designenlivened by unexpected discords.

The fervent and dramatic opening movement develops its three distinct themes with interjections of programmatic autobiographical motifs. Fauré’s childhood was cherished butbrief (he was sent to boarding school in Paris at age nine), andauditory imagery from his earliest years permeates his work. Hewrote that the first theme evokes the forge sounds he heard as ayouth, and the movement’s “tranquillamente” sections (E-flatmajor) evoke the Angelus he loved as a child. At the recapitulationthe mode changes from minor to major, a technique that wouldbecome a favorite device in subsequent works.

In the Scherzo the meter playfully changes from patterns ofthree note groups to two. This alternation creates an animatedunderpinning for the melody, which is a broad restatement of thefirst movement’s opening theme. Fauré here omits the middle section trio that is customary for scherzo movements.

The Adagio non troppo, one of Fauré’s most poetic movements,moves with undulating barcarolle rhythms. Fauré wrote that thesonorous peals in the piano are intended to suggest the eveningbells he heard in his childhood. As in the first movement, theseare heard in the passage marked “tranquillamente,” E-flat major.

The agitated finale develops two themes with unexpectedchanges of harmony. As in the scherzo, the rhythm is energized bythe alternation of duple and triple metric patterns. The minor tomajor harmonic scheme heard in the latter part of the openingmovement returns near the work’s conclusion.

Notes by Nancy Monsman

Sunday, March 24, 3 pm

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Richard StraussSextet from “Capriccio” Axel Strauss, Violin Ani Kavafian, Violin Helena Baillie, Viola Cynthia Phelps, Viola Sergey Antonov, Cello Colin Carr, Cello

Richard Strauss (1864–1949) composed his Sextet as the overture to his final opera, “Capriccio” (1941), first performed in Munich, October 1942. A neoclassical work set in eighteenth-century France, the opera provided relief from the difficult circumstances of wartime Germany. Strauss, who hadendured harassment from the Nazis, including the screams of Goebbels, described it as offering “an agreeable evening forrespectable people.”

In the context of the opera, the Sextet has been recently composed by a leading character, the musician Flamand, and theoverture is its rehearsal. Near the conclusion of the Sextet, thecurtain rises on the garden of a rococo chateau, and one hears thefinal strains as if it were played in an adjacent room. The Sextet’spolished phrasing and refined workmanship evoke aristocraticgrace and elegance. Structurally, it falls symmetrically into threesections. The outer areas present calm and poised themes developed with graceful counterpoint, and the more turbulentand chromatic middle section provides contrast.

Strauss, who described his opera as “a conversation piece formusic,” used Capriccio as a vehicle for exploring a philosophicalidea that had long absorbed both him and his eighteenth-centurypredecessors: which is more important to opera, the music or the words? Capriccio is set during the time when the Frenchcomposer Gluck was urging composers to streamline the musicin opera so that the words might be clearly discerned. The maincharacters of Capriccio—the young widowed Countess and hertwo suitors—explore this issue through extended conversationsabout theater and opera. The Countess must decide during thecourse of one evening which of the two suitors she will marry, thepoet Olivier or the composer Flamand. At the end she faces themirror and realizes that her indecision will remain—a symbolicgesture implying the perfect equality of text and music.

Carl VineFantasia for Piano Quintet (World Premiere) Shanghai Quartet Bernadette Harvey, Piano

The Fantasia has been an important form since the late sixteenth century, at which time it was essentially a rhapsodicone-movement work exploring a single subject. Throughout theseveral hundred years of its existence, the fantasia has continuedto suggest quasi-improvisational thematic development withspontaneous flights of imagination and abrupt changes of moodwithin a flexible structure.

Carl Vine (b. 1954) writes about his Fantasia: “I call this single-movement piano quintet Fantasia because it doesn’t followa strict formal structure and contains little structural repetition orrecapitulation. The central section is generally slower than therest and is followed by a presto finale, but otherwise relatedmotifs tend to flow one from the other organically through thecourse of the work. It is ‘pure’ music that uses no externalimagery, allusion, narrative, or poetry.”

The World Premiere of Vine’s Fantasia is sponsored by WesleyC. Green, in memory of his wife, Pearl Green.

Intermission

Franz Schubert“Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965 Jennifer Foster, Soprano Bil Jackson, Clarinet Bernadette Harvey, Piano

Schubert (1797–1828) wrote over 600 songs during his brieflifetime; according to his friends, after he had completed onesong he would reach for a sheet of manuscript paper and beginanother. Miraculously, each is a glorious outpouring of melodyenhanced by sensitive accompaniments and his unique sense ofharmonic color. “Der Hirt auf dem Felsen” (The Shepherd onthe Rock), presumably his final lied, was written in October1828, one month before his death. Schubert composed the songas a concert piece for the formidable soprano Anna Milder, who premiered the work in 1830 after she had received the manuscript from Schubert’s brother.

The famous Milder, earlier cast as Beethoven’s opera heroineLeonore, was accustomed to directing composers, and shedemanded much of Schubert. Milder instructed Schubert in aletter: “The composition is intended for a large audience andshould be brilliant. It should be capable of being sung in a number of tempos so that the singer can express a number ofemotions.” The lied resulting from her guidance is a dramaticscene structured as a three-part aria with connecting passages. Its

Pre-concert commentary at 2:30pm by Joseph Tolliver

The music of Carl Vine has been heard several timeson our concerts, beginning in 2009. Fantasia is his firstAFCM commission. Jennifer Foster has been a frequentguest of the Festival, and she last performed “Der Hirt aufdem Felsen” in 2003. Schoenberg’s sextet was played atour ninth Festival in 2002. The work by Richard Straussis heard for the first time at our concerts as is (of course)the world premiere of Fantasia.

Sunday, March 24, 3 pm

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This afternoon’s concert is generously underwritten by Drs. John and Helen Schafer, and Wesley C. Green.

variety of range, tempo, and mood creates a showpiece for boththe singer and the clarinet. Since Milder did not wish to be overshadowed by her accompanist, the piano’s role is to provideatmospheric background.

Although Schubert most often derived the forms of his liederfrom single poetic texts, he now needed to find a structure toplease Ms. Milder. Unique to his oeuvre, “Der Hirt auf demFelsen” is assembled from three different poems. The Andantinoopening section consists of stanzas one through four of WilhelmMüller’s (1794–1824) “Der Berghirt.” Here Schubert intends forthe listener to infer that the singer herself plays the instrumentalinterludes on an alpine shepherd’s pipe. The lamenting middlesection (G minor), verses 5 and 6, was borrowed from a poem attributed to Wilhelmina von Chézy (1783–1856). Thefinal section is the second stanza of Wilhelm Müller’s“Liebesgedanken.” In this Allegretto the shepherd rejoices at thecoming of spring, and the singer and the clarinet weave a duet.

Arnold SchoenbergVerklärte Nacht, Opus 4, for String Sextet Ani Kavafian, Violin Axel Strauss, Violin Cynthia Phelps, Viola Helena Baillie, Viola Colin Carr, Cello Sergey Antonov, Cello

Schoenberg (1874–1951) wrote his programmatic string sextet Verklärte Nacht (Transfigured Night) in the late summer of 1899. Its 1902 premiere in Vienna shocked an audience unaccustomed to strong stories told through chamber music (butfully acceptable through an orchestral setting). His first large-scalework, the sextet is an essentially tonal composition strongly influenced by Wagner’s late nineteenth-century harmonic procedures. Perhaps Schoenberg’s most accessible composition,Verklärte Nacht strives to expresses late romanticism’s highestideal—that music can be the language of the most subtle human emotions.

Schoenberg based his Opus 4 on Richard Dehmel’s poem“Transfigured Night” (1896). Cast in a single movement, thework falls into five sections that delineate and interpret the stanzasof the poem through intensely expressive motifs. The first andthird sections portray the despair of the couple as they walk in thecold, moonlit night. The agitated second section suggests thewoman’s troubled story, and the fourth conveys the man’s sustained answer. In the final section Schoenberg transforms theopening phrase of the work into a sublime statement heard in theupper register of the violin. By so doing, he creates the magicalconclusion—the mystical transfiguration.

Wenn auf dem höchsten Fels ich steh’,In’s tiefe Tal hernieder seh’,Und singe.

Fern aus dem tiefen dunkeln TalSchwingt sich empor der WiderhallDer Klüfte.

Je weiter meine Stimme dringt,Je heller sie mir wieder klingtVon unten.

Mein Liebchen wohnt so weit von mir,Drum sehn’ ich mich so heiß nach ihrHinüber.

In tiefem Gram verzehr ich mich,Mir ist die Freude hin,Auf Erden mir die Hoffnung wich,Ich hier so einsam bin.

So sehnend klang im Wald das Lied,So sehnend klang es durch die Nacht,Die Herzen es zum Himmel ziehtMit wunderbarer Macht.

Der Frühling will kommen,Der Frühling, meine Freud’,Nun mach’ ich mich fertigZum Wandern bereit.

When I stand on the highest rock,Look down to the deep valleyAnd sing,

The echo from the ravines rises upFrom the dark depths Of the distant valley.

The farther my voice carries,The clearer it echoes back to me From below.

My sweetheart dwells so far from me, thus I long so ardently for herOver there.

I am consumed by deep sorrow;My joy has gone.My hope on this earth has vanished;I am so alone here.

So fervently the song resounded through the forest,So fervently it resounded through the night;It drew hearts heavenwardsWith its wond’rous power.

Spring will come,Spring, my delight;Now I shall prepareTo go a-wandering.

Translation by Richard Wigmore, taken from “Schubert: The Complete Song Texts”(Victor Gollancz Ltd, London 1988)

Two people are walking through the bare, cold grove;The moon accompanies them, they gaze at it.The moon courses above the high oaks; Not a cloud obscures the light of heaven,Into which the black treetops reach.A woman’s voice speaks:

I am carrying a child, and not of yours;I walk in sin beside you.I have deeply transgressed against myself.I no longer believed in happinessAnd yet had a great yearningFor purposeful life, for the happinessAnd responsibility of motherhood; so I daredAnd, shuddering, let my bodyBe embraced by a strange man,And have become pregnant from it.Now life has taken its revenge,Now that I have met you.

She walks with awkward step.She looks up: the moon accompanies them.Her dark glance is inundated with light.A man’s voice speaks:

Let the child you have conceived be no burden to your soul.O see, how brightly the universe gleams!There is a radiance on everything;You drift with me on a cold sea,But a special warmth flickers from you to me, from me to you.This will transfigure the other’s child;You will bear it for me, from me;You have brought radiance on me,You have made me a child myself.

He clasps her round her strong hips.Their breath mingles in the breeze. Two people go through the tall, clear night.

Translation by Lionel Salter

Notes by Nancy Monsman

Festival Musicians

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Peter Rejto celebrates his 20th anniversary asArtistic Director of the Tucson WinterChamber Music Festival, a position he hasheld since its inception. A founding memberof the Los Angeles Piano Quartet and formerprofessor at Oberlin and the University ofArizona, he initially studied mainly with hisfather, the noted cellist Gabor Rejto—who was

one of the first artists engaged by AFCM in the late 1940s. Mr. Rejto has appeared at the summer festivals of Aspen, La Jolla,Round Top, Carmel Bach, Marlboro, Fairbanks, Sitka, Santa Fe,Grand Canyon, and BRAVO! Colorado. His many honorsinclude winning the Young Concert Artists International competition and the Debut Award of the Young MusiciansFoundation, Los Angeles. In 2004 he gave master classes inKorea, at the Central Conservatory in Beijing, and at the SichuanConservatory, China. Recently he has presented master classes atthe Sydney Conservatory and Australian National Academy ofMusic. Mr. Rejto has recorded for Sony Classical, Silva Classics,Summit, Music Masters, and Pickwick.

Sergey Antonov, hailed as a “brilliant cellist”by Mstislav Rostropovich, went on to prove hismentor’s proclamation by garnering top honors in numerous soloist and chamber competitions, ultimately landing the most coveted prize of all, the Gold Medal at theworld’s premier Olympiad, the quadrennialInternational Tchaikovsky Competition in 2007.

Born into a musical family in Moscow in 1973, Mr. Antonov wasone of the youngest recipients of the Tchaikovsky award. His subsequent performances have taken him around the globe, fromthe Moscow Conservatory’s Great Hall to Suntory Hall in Tokyo.He has been a repeat guest artist at the Newport Music Festivalin Rhode Island, where he made his American debut in 2007,and has collaborated with such maestros and classical artists asYuri Simonov, Maxim Vengerov, David Geringas, and YuriBashmet, among others. Mr. Antonov now calls Boston,Massachusetts his home.

London-born violinist and violist HelenaBaillie, a favorite with Tucson audiences sinceher first AFCM appearance in 2008, studiedwith the first violinists of the Guarneri,Emerson, Vermeer, Juilliard, and Tokyo quartets; she studied viola with Roberto Diaz,Joseph de Pasquale, and Wilfried Strehle of theBerlin Philharmonic. Isaac Stern, Lorand

Fenyves, Felix Galimir, and Leon Fleisher guided her in chambermusic. Ms. Baillie’s 2008 New York violin recital debut atBargemusic was hailed by The Strad for its “brilliance andpoignance.” Since then she has also appeared in chamber musicwith Pinchas Zukerman, the Beaux Arts Trio at the Alte Oper inFrankfurt, and at Carnegie Hall in the Alexander SchneiderSeries. From 2010–12, Ms. Baillie was honored by an ArtistFellowship at Bard College in Annandale-on-Hudson, New York.Her instruments are both made by Brooklyn-based luthier SamZygmuntowicz: a viola made in 2009 and a violin made in 1997.

Pianist Xak Bjerken has given solo and chamber music recitals in Europe andthroughout the United States. He is the pianistof the Los Angeles Piano Quartet, which toursthe U.S. regularly, and he has held chambermusic residencies at the Tanglewood MusicCenter and the Festival of Two Worlds inSpoleto, Italy, performed at the Olympic

Music Festival, and served on the faculty of the Eastern MusicFestival and the Icicle Creek Festival. Since 2011, he has been onthe faculty at Kneisel Hall in Maine, and at the BenningtonChamber Music Conference in Vermont. His first solo recordingfor CRI, released in 2001, was entitled “High Rise”; he has alsorecorded for Chandos, Albany Records, Fleur de Son, and KochInternational, and in 2010, his recording for Chandos of musicby Stephen Hartke received much acclaim. Mr. Bjerken earnedhis bachelor’s degree cum laude at UCLA, studying with AubeTzerko, and his master’s and doctoral degrees from the PeabodyInstitute as a student and teaching assistant to Leon Fleisher. Heis Professor of Piano at Cornell University.

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Festival MusiciansSoprano JenniferFosterhas sungopera,oratorio,recitals, and chamber music with world-classmusicians and conductors throughout theUnited States and Europe. Recent seasons havefeatured performances as diverse as the role ofRosalinda in Strauss’s Die Fledermaus at therenowned Westport Country Playhouse withTroupers Light Opera Company and her

Equity debut in the roles of Nimue and Lady Anne in Camelot atPennsylvania Center Stage. Her many other credits include leadand comprimario roles with the Los Angeles Opera, a nationaltour with San Francisco Opera’s Western Opera Theater, Mahler’sSymphony No. 4 with the Los Angeles Philharmonic under Esa-Pekka Salonen at the Hollywood Bowl, Anne Trulove inStravinsky’s The Rake’s Progress with Boston Cantata Singers andat the Aldeburgh Festival in Snape, England, Juliet in excerpts ofLee Hoiby’s Romeo and Juliet with the Stamford Symphony,Handel’s Messiah with the New Haven Symphony, engagementswith the New World Symphony among many other regionalorchestras, Tanglewood, Santa Fe, Cabrillo, Tucson, and AspenFestivals, and an improvised duet with Bobby McFerrin at theVerbier Festival in Switzerland. Ms. Foster served as soloist forThe First Church of Christ, Scientist (The Mother Church), inBoston from 1997 to 2004. Her recordings include Jubal-ation,produced by the Christian Science Publishing Society, and“Jennifer Foster: The Debut,” live performances of lesser-knownchamber works. Ms. Foster regularly teaches master classes and inher private studios in New York, Boston, and Westport CT, whereshe lives with her husband William and four children.

Bernadette Harvey’s career as a pianist began commenced early in her native Australia whenshe won her first medal in the SydneyEisteddfod at the age of two and a half. Shewent on to win the ABC “Young Performer ofthe Year” and performed in recitals and as asoloist with all the Australian SymphonyOrchestras, presenting eight different piano

concertos. Following early studies in Australia, Ms. Harvey traveled to Canada, England, and France, studying for a shorttime with Robert Silverman and Cécile Ousset. After a briefreturn home, she won several overseas scholarships and twoAustralia Council Grants, which provided the means for furtherstudy in the U.S. There she studied with Nelita True and was herTeaching Assistant at the Eastman School of Music in Rochester,NY, and graduated with a Master’s and Doctor of Musical Arts. After winning various prizes in numerous internationalcompetitions, Ms. Harvey returned to Australia where she wasimmediately offered the Artistic Directorship of the 1997Australian Women’s Music Festival. Currently, she is Lecturer inPiano and Piano Pedagogy at the Sydney Conservatorium ofMusic. Ms. Harvey divides her time between collaborations andsolo appearances and recordings; her CD Alternating Currents,which includes music she played at the 2011 Festival, has beenlavishly praised.

Prestigious Czech composer Sylvie Bodorovástudied composition at the Janácek Academy inBrno, The Academy of Music in Prague, and theAcademia Chigiana. Since the 1980s her workshave been performed worldwide and as far as theAntarctic, where her elegy for guitar, Homage toColumbus, was performed in 1997. She has wonseveral composition prizes (Mannheim, Czech

Radio Prague) and received numerous commissions from Europe,South America, and the United States. Her activities extend beyondmusic to the restoration of Gustav Mahler’s birthplace in Kalistenear Humpolec in the Czech Republic. Ms. Bodorová has stated, “Iwould like to give my listeners a piece of beauty, to share with thewonder of creation. Music…is a bridge between heaven and earth.”Her first Tucson Winter Chamber Music Festival commission, in2003, was a Druid-inspired work for harp and strings.

Colin Carr first played the cello at the age offive. Three years later he went to the YehudiMenuhin School, where he studied withMaurice Gendron and later William Pleeth.He was made a professor at the Royal Academyof Music in 1998, having been on the facultyof the New England Conservatory in Bostonfor 16 years. In 1998, St. John’s College, Oxford

created the post of “Musician in Residence” for him, and inSeptember 2002 he became a professor at Stony Brook Universityin New York. In the same year he was awarded an honorary degreeby the Royal Academy of Music. His international career wasbegun when he won the Young Concert Artists InternationalAuditions in 1979. He has also been the winner of many prestigious international awards, including First Prize in theNaumburg Competition, the Gregor Piatigorsky MemorialAward, and Second Prize in the Rostropovich International CelloCompetition. As a member of the Golub-Kaplan-Carr Trio, herecorded and toured extensively for 20 years. He is a frequent visitor to international chamber music festivals worldwide and hasappeared often as a guest with the Guarneri and Emerson stringquartets and with the Chamber Music Society of Lincoln Center.Mr. Carr’s cello was made by Matteo Gofriller in Venice in 1730.

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Bil Jackson, clarinet, is the consummate fes-tival player, appearing with numerous of thetop festivals all over the country, includingAspen, where he has been a steady performersince a teenager, Bravo! Vail, Angel Fire, andAlpenglow. A student of Robert Marcellus atNorthwestern University, he is a graduate ofthe Interlochen Arts Academy where he won

the Academy's concerto competition three times and was award-ed the medal for overall musicianship. Mr. Jackson is the onlyplayer to win the International Clarinet Competition twice, andhe was also a finalist in the Prague International ClarinetCompetition. In 2008, he was a featured artist at the JapanInternational Clarinet Festival. Mr. Jackson was the longtimeprincipal clarinetist of the Colorado Symphony Orchestra andserved as professor of clarinet at the University of NorthernColorado in Greeley. In March 2011, he was appointed to thefaculty of the Blair School of Music at Vanderbilt University inTennessee. He also serves on the faculty for the Aspen MusicFestival and Colorado College Music Festival.

Violinist Ani Kavafian, although active as asoloist, is best known as one of America’s most highly regarded chamber musicians, particularly in concert with her sister, Ida, andas a longtime member of the Chamber MusicSociety of Lincoln Center. Touring the UnitedStates, Canada, and Europe, she performs withthe Kavafian/Schub/Shifrin Trio, the Da Salo

String Trio, and the Triton Horn Trio. She is also in demand atnumerous festivals, including the Santa Fe Chamber MusicFestival, Chamber Music Northwest, Ravinia, and MostlyMozart Festival. Ms. Kavafian’s list of prestigious awards includesthe Avery Fisher Prize and the Young Concert ArtistsInternational Auditions. She has appeared at the White House onthree separate occasions and has been featured on many networkand PBS television music specials. Her recordings can be heardon the Nonesuch, RCA, Columbia, and Musical Heritage Societylabels. As a full professor at Yale University, she is enjoying themany successes of her students as they secure positions withmajor orchestras and as teachers at universities around the world.Ms. Kavafian plays a 1736 Stradivarius violin.

Cynthia Phelps, principal violist of the NewYork Philharmonic, is a treasured chamberartist who has been described as producing oneof the richest, deepest viola timbres in theworld, an artist whose playing is both sensuousand technically faultless. The New York Timeswrites that she “shapes the viola line as though it were written for voice, not for an

instrument.” She maintains a career that embraces solo recitalwork, orchestral performance, and numerous chamber musicappearances. Winner of the Lionel Tertis International ViolaCompetition, the Washington International String Competition,and the Pro Musicis Foundation Award, she has presented recitalsin London, Paris, Rome, Los Angeles, Boston, and Washington,DC. She has been a featured soloist on radio programs such as St. Paul Sunday Morning and has performed with PinchasZukerman and the Chamber Music Society of Lincoln Center ina Great Performances: Live from Lincoln Center telecast. Her solodebut recording was released by Cala Records, and she can alsobe heard on the Marlboro Recording Society, Polyvideo, NuovaEra, Virgin Classics, and Covenant labels. She has given numerous Master Classes and has served on the faculties of theJuilliard School and the Manhattan School of Music. Ms. Phelpswas a participant in the very first Tucson Winter Chamber Music Festival.

Formed at the Shanghai Conservatoryin 1983, the Shanghai Quartethas worked with the world’s most distinguished artists and regularlytours the major music centers ofEurope, North America, and Asia.Recent performances have rangedfrom the International Music Festivals

of Seoul and Beijing to the Festival Pablo Casals in France,Beethoven Festival in Poland, Yerevan Festival in Armenia, andCartagena International Music Festival in Colombia, as well asnumerous concerts in all regions of North America.

A native of Shanghai, Weigang Li began studying the violinwith his parents at the age of five and went on to attend theShanghai Conservatory at age 14. He then came to the UnitedStates in 1981 to study at the San Francisco Conservatorythrough an exchange program between the sister cities of SanFrancisco and Shanghai. Upon graduating from the ShanghaiConservatory in 1985, Mr. Li was appointed assistant professorof violin at the school. Shortly thereafter he left China to continue

Festival Musicians

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his education at Northern Illinois University. From 1987–1989,Mr. Li studied and taught at the Juilliard School as teaching assistant to the Juilliard Quartet. His other teachers haveincluded Shmuel Ashkenasi, Pierre Menard, Shu-Chen Tan, andIsadore Tinkleman. Yi-Wen Jiang took his first violin lessonswith his father at age six and made his concerto debut with theCentral Opera House Orchestra in Beijing when he was 17. In1981, after winning a top prize at the First China Youth ViolinCompetition, he was accepted into the class of Professor Han Liat the Central Conservatory of Music. He came to the UnitedStates in 1985 on a full scholarship to the St. Louis Conservatory,where his teachers included Taras Gabora, Jaime Laredo, andMichael Tree. He also spent two summers in Dallas participatingin master classes with Pinchas Zukerman. In 1990, with the support of the Ken Boxley Foundation, he went to RutgersUniversity to work with Arnold Steinhardt of the GuarneriQuartet. Honggang Li, viola, began his musical training studying the violin with his parents at the same time as his brother, Weigang. When the Beijing Conservatory reopened in1977 after the Cultural Revolution, Mr. Li was selected to attendfrom a group of over five hundred applicants. He continued histraining at the Shanghai Conservatory and was appointed a faculty member there in 1984. Mr. Li has also served as a teaching assistant at the Juilliard School. A native of SpanishHarlem in New York City, cellist Nicholas Tzavaras has quicklybecome an internationally sought after chamber musician andeducator across three continents. He has degrees from the NewEngland Conservatory and State University of New York atStonybrook where his teachers were Laurence Lesser andTimothy Eddy. Currently he is the coordinator of the StringDepartment and Cello Professor of the John J. Cali School ofMusic at Montclair State University in New Jersey. In addition,he is a guest professor at the Shanghai and Central Conservatoriesin China. Mr. Tzavaras has been cellist of the Shanghai Quartetsince 2000.

The Shanghai Quartet currently serves as Quartet-in-Residenceat Montclair State University and Ensemble-in-Residence withthe Shanghai Symphony Orchestra. They are visiting guest professors at the Shanghai Conservatory and the CentralConservatory in Beijing.

Festival MusiciansAxel Strauss is the first German musician towin the Naumburg Violin Award (1988). Inthat same year he made his American debut atthe Library of Congress in Washington, DC,and his New York City debut at Alice TullyHall, establishing a reputation for virtuosityand musical sensitivity. Prior to moving to the U.S. he won a series of European musical

competitions, including top prizes in the Bach, Wieniawski, andKocian competitions. Mr. Strauss studied at the Music Academiesof Lübeck and Rostock with Petru Munteanu. In 1996 he beganworking with the late Dorothy DeLay at The Juilliard School andbecame her teaching assistant in 1998. He has also worked withsuch artists as Itzhak Perlman, Felix Galimir, and Ruggiero Ricci,and at the Marlboro Music Festival with Richard Goode, MitsukoUchida, and Andras Schiff. His chamber music partners haveincluded Menahem Pressler, Kim Kashkashian, Joel Krosnick,Robert Mann, and Bernard Greenhouse. He has served asProfessor of Violin and Chamber Music at the San FranciscoConservatory of Music, and currently has an appointment asProfessor of Violin at the Schulich School of Music of McGillUniversity in Montreal. Mr. Strauss performs on an 1845 violinby J.F. Pressenda of Turin on extended loan through the generousefforts of the Stradivari Society in Chicago.

Carl Vine first came to prominence inAustralia as a composer of music for dance,with twenty-five dance scores to his credit. Hiscatalogue now includes seven symphonies,nine concertos, music for film, television, andtheatre, electronic music, and numerous chamber works. Although primarily a composerof modern “classical” music, he has undertaken

tasks as diverse as arranging the Australian National Anthem andwriting music for the Closing Ceremony of the 1996 AtlantaOlympics (the “Sydney 2000” presentation). Born in Perth, hestudied piano with Stephen Dornan and composition with JohnExton at the University of Western Australia. Moving to Sydneyin 1975, he worked as a freelance pianist and composer with awide range of ensembles, theater, and dance companies over thefollowing decades. Since 2000, Mr. Vine has been the ArtisticDirector of Musica Viva Australia, the largest chamber music presenter in the world. Since 2006 he has also been the ArtisticDirector of the Huntington Estate Music Festival, Australia’ s mostprestigious annual chamber music event. His most recent compo-sitions include Piano Concerto No. 2 for the Sydney Symphony,a Violin Concerto for the Australian Youth Orchestra, andSymphony No. 7 for the West Australian Symphony Orchestra.

Thank You

20

$20,000 and overJean-Paul Bierny and Chris TanzDavid and Joyce Cornell

$10,000 – $19,999Jim CushingMr. Wesley Green

$5,000 – $9,999Dr. and Mrs. Elliott

and Sandy HeimanDrs. John G. Hildebrand

and Gail D. BurdJohn and Helen Schaefer

$2,500 – $4,999Ted and Celia BrandtStan Caldwell and Linda LeedbergFred and Diana ChaffeeEOS FoundationBob FosterGrace McIlvainHal MyersPhilip Pappas IICharles and Suzanne PetersGhislaine PolakDr. Herschel and Jill RosenzweigDr. Richard and Judy SandersonJayant Shah and Minna MehtaWalter Swap and Dorothy LeonardEmma and Gerry TalenCarla Zingarelli-Rosenlicht

$1,000 – $2,499AnonymousNancy BissellDagmar CushingJohn and Terry ForsytheBeth FosterDrs. J.D. and Margot GarciaThomas HanselmannJoan JacobsonBeth and Mike KasserDr. and Mrs. Wayne MageeDr. Harold and Marjory MarguliesWarren and Felicia MayEddy MukaMr. and Mrs. John RupleyJerry and Kathy ShortRandy SpaldingJorge SpellvinEverett and Lee Wyers

$500 – $999Wes AddisonCelia A. BalfourRichard and Galina De RoeckMr. Harold FrommDr. Marilyn HeinsMr. and Mrs. Sidney HirshArthur and Judy KidderKeith Kumm and Sandy PharoMr. William McCallumSerene ReinDror and Lea SaridReid and Linda SchindlerPaul A. St. John and

Leslie P. TolbertMr. John VazquezMrs. Betsy Zukoski

$250 – $499Helmut AbtAnn BlackmarrJulie BubulDr. and Mrs. Harvey W. BuchsbaumCynthia and Lee J. CannonBryan and Elizabeth DaumMr. Philip M. DavisDonald and Louise DoranMr. Richard Firth Charles FlemingLeonid Friedlander

and Yelena LandisDr. and Mrs. Gerald

and Barbara GoldbergDr. and Mrs. Robert

and Harriet HirschDr. and Mrs. Norman KomarDr. Alan LevensonMr. and Mrs. Larry and

Rowena G. MatthewsHarry NungesserJohn and Farah PalmerGeorge and Irene PeskowMr. Herbert PlochDr. Seymour ReichlinBoyer RickelMs. Rita RosenbergMr. and Mrs. James

and Lenore SchillingGoldie and Isidore ShapiroSteve StrongTed and Shirley TaubeneckAngel VoyatzisWendy and Elliot WeissJan Wezelman and David BartlettMrs. Peggy Wolf

The Arizona Friends of Chamber Music gratefully acknowledges the contributions and in-kind services provided by thefollowing individuals, businesses, and organizations. Space limitations prevent us from listing contributions less than$100. We are grateful, however, for every donation, each of which helps us to secure the future of AFCM. Assistancereceived after February 14, 2013 is not reported here because of scheduling deadlines.

To donate, please call our office at 577–3769 or email “donations@arizonachambermusic.org.”

Thank You

21

$100 – $249AnonymousTom and Susan AcetoJerry and Priscilla AndersonMark and Jane BarmannMrs. Margaret BashkinPeter and Betty BengtsonGail Lee BernsteinMr. and Mrs. Jean

and Leigh BernsteinDr. Nathaniel BloomfieldMs. Joyce BolingerHans and Regina BohnertDr. and Mrs. Elihu BorosonWilliam and Barbara CarpenterMs. Esther CapinDrs. Susan and Robert CarlsonShirley ChannNancy CookJames and Frances Dauber Jane C. DeckerMr. Raul and Isabel DelgadoAnne DennyMarilyn and John DettloffMr. Martin Diamond and Paula WilkJohn and Mary EnemarkSusan FleishmanKlaus and Denise FohlmeisterJames and Ruth FriedmanMrs. Linda FriedmanRachel GoldwynDr. and Mrs. M.K. HaynesMs. Ruth B. HelmEvan and Lydia HershHelen and Jerry HirschMr. Edgar Jenkins Dr. David JohnsonPaul and Marianne KaestleRichard and Annette KammMs. Lee L. KaneCarl KanunBarbara KatzBob and Nancy KayeKay KornBoris and Billie KozolchykDaniela LaxKeith and Adrienne LehrerAmy and Malcolm LevinMr. and Mrs. Tom and Rhoda LewinMs. Mary Ellen LewisKaren E. Loeb

Mary Lonsdale BakerDr. and Mrs. Frank MarcusMartha MecomMr. and Mrs. Robert

and Frances MooreMs. Sara NaylorEdward NelsonMs. Gisele NelsonDr. Mary Peterson

and Dr. Lynn NadelSarah and Don PersellinDon Poll and Eric NelsonMs. Lynn RatenerRichard and Harlene ReevesMs. Kay RichterJay RosenblattDr. Elaine RousseauAudrey SaltzmanHelen and Howard SchneiderSi and Eleanor SchorrDr. Stephen and Janet SeltzerMark Haddad SmithMs. Shirley SnowMs. Ellen TrevorsBarbara TurtonMs. Iris C. VeomettMrs. Rudolf Von GlinskiMs. Gail WahlElizabeth Weiner-Schulman

BUSINESSESAnonymousAmeripriseArizona FlowersBoeingCopenhagenDeGrazia FoundationFidelity47 ScottHolualoa CompaniesJanosKUATLey PianoLoft TheaterMarshall FoundationMerrill LynchRadiology Ltd.Research CorporationUBSUdall Law Firm, LLPVazquez Portfolio Group

LegacyJean-Paul Bierny and Chris TanzTheodore and Celia BrandtRichard E. FirthAnonymous

$25,000 – $35,000Family Trust of Lotte ReyersbachPhyllis Cutcher, Trustee of

the Frank L. Wadleigh TrustCarol KramerClaire B. Norton Fund (held at

the Community Foundation for Southern Arizona)

Agnes Smith

$10,000 – $24,999Marian CowleMinnie KramerJeane Serrano

Up to $9,999Elmer CourtlandMargaret FreundenthalSusan R. Polleys

Administrative TrustFrances ReifEdythe Timbers

Bequests

500 N. Tucson Blvd., Ste. 190In The Village at Sam Hughes

Arizona Flowers

The Commissioning Program gives our audience members the opportunity to sponsor new chamberworks commissioned by the Arizona Friends of Chamber Music. Since 1997 we have featured WorldPremiere performances during the regular season, our Piano & Friends series, and the Tucson WinterChamber Music Festival. Participation makes a significant contribution to the creation of new music andinfluences what will be composed and performed throughout the 21st century. Please contact us if youare interested in sponsoring a composition.

We thank the following, who have generously sponsored works as part of the CommissioningProgram: Helmut Abt; Sherrill Akyol; Harold G. Basser; Jean-Paul Bierny & Chris Tanz; Ted & Celia Brandt;Fred & Diana Chaffee; Milos & Milena Chvapil; Dan Coleman; Bill & Lotte Copeland; Joyce & David Cornell;Dr. Jim M. Cushing; Richard & Galina De Roeck; Bob & Connie Foster; Linda Friedman, Samuel & JonathanFriedman, and Davina Friedman Doby; Marya & Robert Giesy; Wesley C. Green; Joan Jacobson; Tony &Ellen Lomonaco; George & Eleanor Marcek; Grace McIlvain; Hal Myers; Anne Nelson; Linda & StuartNelson; Paul & Dorothy Olsen; Suzanne & Charles Peters; Ghislaine Polak; Serene Rein; the Estate ofMaxwell Rosenlicht; Herschel & Jill Rosenzweig; Richard & Judy Sanderson; John & Helen Schaefer; SusanSmall; Karen Sternal; Walter Swap; Mrs. Faria Vahdat-Dretler; Henry Weiss; Carla Zingarelli-Rosenlicht;and the following groups and organizations: the Aasheghan e Aavaaz Group; Members of the ArizonaSenior Academy & Academy Village; Arts Integration Solutions (formerly the OMA Foundation); Membersof Tucson’s Czech Community; Harry & Lea Gudelsky Foundation; the NOVA Chamber Music Series.

Arizona Friends of Chamber Music

Commissioning Program

If you enjoyed this concert, please consider making

a donation to the

EVENING SERIESJerusalem Quartet

October 16 & 17, 2013

Vienna Piano TrioNovember 13, 2013

Fry Street QuartetDecember 11, 2013

Takács QuartetJanuary 15, 2014

Imani Winds with Pianist Ann-Marie McDermott

February 19, 2014

Pavel Haas QuartetApril 2, 2014

PIANO & FRIENDS SUNDAY MATINÉE

Hye Jin Kim, ViolinNovember 10, 2013

Jonah Kim, CelloJanuary 12, 2014

Silver Medal Finalist of the Van CliburnCompetition 2013

April 13, 2014

THE 21st TUCSON WINTER

Camber Music FestivalMARCH 16–23, 2014

Featuring James Austin-Smith, Martin Beaver,Bernadene Blaha, Paul Coletti, Kevin Fitz-Gerald,Antonio Lysy, Christòpheren Nomura, Pepe Romero,Sandy Yamamoto, and the Miró Quartet.

2013–14 SCHEDULE

Schedules, performers, and programs are subject to change. See our website at www.arizonachambermusic.org for continuing updates,

along with a large variety of videos, photos, and relevant links.

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